RELEASE: Effluve Ana Moontense

This is a re-release of music you may have already heard, but gussied up for 2011 with no small help from Pianoteq and Li'l Miss Scale Oven.

(When I first discovered microtonality in 2003, I scoured the internet for every last bit of microtonality I could squeeze out of it. Since then it has been more in abundance than my time to listen, so, assuming others are similarly mortal, I suspect those newer on the scene might not have ever found these.)

This is also an experiment in releasing scores (i.e. all materials you would need to study and/or perform each piece) packaged with the album. Why? Because microtonalists just don't perform each other's music often enough these days.

I'm also working on my manifesto writing style.

The variations on Mozart is a great gateway piece for the uninitiated, if they can get past the 13-EDO slap-in-the-face :)

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http://jacobbarton.bandcamp.com/

EFFLUVE ANA MOONTENSE—Music for retuned pianos and voice; a gateway into a sound world of unknown unknowns.

The global organization of music is almost complete. When it is complete, music itself will offer no new potentials (except when propped up by the potentials of other, less organized systems such as children).

The pursuit of Xenharmonic Music reverses this decay, recognizing the legitimacy of possibilities which were prematurely discarded and systematically hidden from musicians for the past few centuries.

Which old patterns must be resisted for truly new systems to emerge?

New technologies are slowly breaching the classic vicious cycle—"We need good music to justify building new instruments, but we need new instruments in order to compose good music"—but the significance of xenharmonics is still invisible.

Only acts of composition—meetings of whimsy and rigor—can make the invisible visible.

about time Jacob !
udderbot next......?
hope so <maybe an Udderbot Opera dedicated to the late great Hans Reichel>
like the score idea as well, when applicable of course
keep doing

--- In tuning@yahoogroups.com, "piccolosandcheese" <udderbot@...> wrote:
>
> This is a re-release of music you may have already heard, but gussied up for 2011 with no small help from Pianoteq and Li'l Miss Scale Oven.
>
> (When I first discovered microtonality in 2003, I scoured the internet for every last bit of microtonality I could squeeze out of it. Since then it has been more in abundance than my time to listen, so, assuming others are similarly mortal, I suspect those newer on the scene might not have ever found these.)
>
> This is also an experiment in releasing scores (i.e. all materials you would need to study and/or perform each piece) packaged with the album. Why? Because microtonalists just don't perform each other's music often enough these days.
>
> I'm also working on my manifesto writing style.
>
> The variations on Mozart is a great gateway piece for the uninitiated, if they can get past the 13-EDO slap-in-the-face :)
>
> -------
>
> http://jacobbarton.bandcamp.com/
>
> EFFLUVE ANA MOONTENSE—Music for retuned pianos and voice; a gateway into a sound world of unknown unknowns.
>
> The global organization of music is almost complete. When it is complete, music itself will offer no new potentials (except when propped up by the potentials of other, less organized systems such as children).
>
> The pursuit of Xenharmonic Music reverses this decay, recognizing the legitimacy of possibilities which were prematurely discarded and systematically hidden from musicians for the past few centuries.
>
> Which old patterns must be resisted for truly new systems to emerge?
>
> New technologies are slowly breaching the classic vicious cycle—"We need good music to justify building new instruments, but we need new instruments in order to compose good music"—but the significance of xenharmonics is still invisible.
>
> Only acts of composition—meetings of whimsy and rigor—can make the invisible visible.
>